It's the End of the World!.....of Gumball that is

The early 2010s was definitely a turning point for Cartoon Network, especially for its British division, Cartoon Network Studios Europe. Why? Because at the turn of this decade, they managed to get its first TV show off the ground. A show that managed to be the network's longest-running co-European production, as well as their most successful. (As of now). And while I don't put it on the same level as 'Adventure Time', I still think of it as a solid show that can appeal to audiences of all ages. That show is 'The Amazing World of Gumball'.


The show revolves around the life of the title character, a young cat named Gumball Watterson and his goldfish friend Darwin. Each episode would involve the duo going through childhood situations and dilemmas. And each one would escalate to become crazier and crazier as it goes on. Whether it's coping with their inter-species family or interacting with a cast of colourful and quirky characters. Both Gumball and Darwin would try to resolve their issue with any hair-brained scheme. Like most people, I severally underestimated this show at first. I thought this show would just relay more on style than actual substance, but to the surprise of many older viewers, the people behind it were able to pull off a lot with its various characters. The more episodes I've seen of Gumball, the more I noticed how it tries to push the boundaries of what is acceptable in children's entertainment. I'm not exaggerating when I say the world of Gumball is a bizarre and mixed up one. The show takes place in Elmore, a town inhabited with anthropomorphic animals and talking objects. But what makes it different from 'Chowder', is that the universe of Gumball is closer to real life. After all, there are 2D characters in a 3D environment. Every character is done in a different animation style, making them look as diverse and distinct as their personalities. It follows the tradition of using mixed media in comedic cartoons; as it adds dynamic angles and perspective to enhance the visual gags (as well as other editing techniques). The show doesn't just rely on its visuals, the dialogue uses a lot of similes and it can also be meta with its humour. The stories can also explore a number of concepts, they aren't afraid to exaggerate the scenarios Gumball and his family is put into. It makes it feel like a family-friendly version of South Park, except it doesn't rely heavily on social commentary and that it doesn't gross me out. You can tell Ben Bocquelet took inspiration from events from his own childhood, though I doubt he froze time or was possessed by a ghost hahahahaha.

Where the show is strongest at is its humour. It contains many verbal and visual jokes, that come very quickly that you may find yourself laughing at the ones you catch. You might say that they can be for an acquired taste like the visuals. There's a gag at any moment, that you can't help to giggle at how it catches you off guard. The humour doesn't come off as random, nor does it rely on being non-sequitur, as the strange phenomena fit with the world it takes place in. With such a strange world, they're many memorable characters. Chances are you might have known characters like these, or you were these characters growing up. Even though most of them are talking objects, they're people with distinct traits. One may look at these characters at first glance and think of them as archetypes from other sitcoms, but they manage to be done in a way that deviates from such characters. On one hand; the father Richard is similar to Homer Simpson or an early Peter Griffin, on the other Penny is a love interest with a mystical secret. It helps some of the interactions between these characters lead to cute scenes.

So with all these things said, how come I don't regard Gumball as one of the best shows from Cartoon Network or the 2010s for that matter? Well, like other animated shows from this decade; there are at least a few flaws with it that can be seemingly unnoticeable. Maybe it's just me but the show tries to balance the fantasies of its universe and the fantasies in the character's head, and it isn't always even. Also, the way it tackles certain topics is a lot like walking on a tightrope, and if you don't have that balance, then you'll slip up. But it mostly keeps steady and seldom crosses that line. It's these characters that can make or break a story, which can result in a mixed bag of moments. And that's the best way I can describe Gumball, a mixture of designs and jokes.

Bottom line; I wouldn't say that 'The Amazing World of Gumball' is all that......well amazing. But would I say it's bad? Not necessarily. I still think it's a decently enjoyable cartoon. In an age where children's programming is offering so much variety, Gumball finds a middle ground in order to appeal not just to kids but kids at heart. And I don't object to showing it to kids if it makes them laugh and think at the same time. I may have mentioned this before, but this show is an interesting contrast to 'Regular Show', only this exaggerates childhood scenarios. But whereas Regular Show is laid back, Gumball is spontaneous. I'd say this because it couldn't have come out at a better time. Throughout the 2010s; we've seen animated shows where normal scenarios are blown out of proportion, or have something deep and interesting to say beyond being outlandish. These bizarre shows paved the way for more variety in animated programming, which made me more optimistic about what was airing. And Gumball isn't an exception. Now that we're at the tail end of the decade, it figures that Gumball is ending along with it. It's gone on as long as any of those CN shows, though it did so without revealing too much. From what I heard, the last episode left off on a cliffhanger. Let's hope that Cartoon Network has that conclusion in the works and that they don't make the same mistake they did with 'The Cramp Twins'. But I digress. Gumball is certainly worth checking out, not just to jokingly ask if the makers were on drugs. I'm also optimistic about the future of European cartoons. No matter who you are, we've explored Gumball's crazy world at some point or another.

What is The Real Deal with Mr Parsons?

[TOP SECRET]

THIS INFORMATION IS STRICTLY CLASSIFIED, IT MUST BE KEPT UNDER LOCK AND KEY AND NEVER REMOVED FROM OFFICE. THIS MUST BE ONLY FOR INTELLIGENCE MESSAGES ONLY.

You know that I talked about the underrated cartoon The Cramp Twins before, quite frequently in fact. It seems like it's my duty to go into detail with this show if no one else will. But even then; they're still some aspects I've yet to touch upon; whether it be the characters, the setting or the production history. One of those things I'll be discussing relates to one of its supporting characters, Seth Parsons.

For those unfamiliar, Mr Seth Parsons is one of the remaining swamp folk of the fictional town of Soap City. He lives on the only patch of swampland in the city, with his wife Lilly and family of six kids. He works by farming the land but he's also skilled at wood carving, handling creatures, magic tricks, acrobatics, comedy, he even has his own plumbing business to support such a big family. But what he's best known for is sharing his infinite wisdom of the swamp with his son Tony and Lucien Cramp. He's an overall handyman who cares about the swamp and his family, and the best father anyone could ask for. But what if there is more to this man than he lets on? What is he hiding from the Soap Folks? Could someone who's such a great family man be so suspicious? Join in as we unravel the clues to what is the real deal with Mr Parsons?

The swamp people have this saying; which translates to 'the deeper you go, the more you know'. To better understand the deal with Mr Parsons, we're going to have to look at the episode 'The Bad Seed'. For those who aren't familiar, this episode talks about a masked outlaw who once terrorised Soap City. I've discussed this episode before in my list of the best Cramp Twins episodes, but I didn't go into detail about it so not to spoil the crucial plot points. But now I want to use this chance to put those plot points into perspective. Though I do encourage you to watch the episode before you could read this article. Anyway, the Bad Seed was a juvenile delinquent who wore a mask to hide his identity along with his accomplice Little Hat. They were a dynamic duo who caused trouble by disturbing the peace, that is until they were caught and unmasked. By the end of the episode, it was revealed that the bad seed turned out to be non-other than Lucien's ancestor who looked exactly like him. And Little Hat was Seth when he was young. 

First of all, we see that Mr Parsons had a checkered past as one of Soap City's former criminals. It shows that even back then he had a connection with the Cramp family. We learn that Seth once had a rebellious side to his personality, back when he was young and did not know any better. Though if Seth and the Bad Seed were anything like Tony and Lucien, could it be possible Seth committed these felonies to stand up for the rights of the swamp people and revolt against the totalitarianism of the Soap people? Even though some of the crimes he committed have become tamed, could it be that the bad seed was a misunderstood anti-hero? Like a western version of Robin Hood, who knows? Seth even stole a page from the City's records which shows him being unmasked. Though he admits he took it because he likes how he looked in the picture, rather than keeping people from knowing about his past. 

Which begs the question, how has Mr Parsons been alive for so long? You cannot say that it wasn't that long ago, because there's evidence that proves otherwise. As its shown, the Bad Seed was alive sometime during the old west. It's also indicated that he did this when Soap City outlawed wearing odd socks under penalty of hanging. So how could he have possibly survived all these years and not look so incredibly old? We have ourselves a conspiracy theory here people.

The swamp has had a fascinating echo-system, but who would guess that one of its inhabitants would be the most intriguing? I'm willing to believe that Seth's vast knowledge and wisdom comes from living for hundreds of years. Despite this, he appears to still be agile and was able to have children. Now The Cramp Twins was always grounded in reality, and yet Seth was one abnormality to be walking among the neighbourhood. Could it be possible that Mr Parsons was cryogenically frozen for many years, or maybe he has a special swamp herb that keeps him alive, or here's a crazy thought he might have used supernatural forces to gain immortality? Alas, we never got an answer, and fans of the show are still wondering to this day. I can't say for certain that my speculations are true, as I've yet to contact any of the crew members regarding this. But surely the people behind this show could have given us revelations for Pete sake.

[UNSOLVED]

One thing is for sure, that Seth Parsons is the character who drew us into the history behind Soap City, the swamp and the people who inhabit it. The fact that he has a dark past and the mystery around him make him a complex character. If only we had clarification on these backstories, as well as Seth's. Tell me in the comments below what you think is the reason Seth has been able to live for so long. With these entertainment companies exploiting people's nostalgia, I think The Cramp Twins needs to have a proper conclusion. If you're a fan of the show or you just want it to tie up the loose ends, please contact Cartoon Network Europe or m4e in demand for it to be revived. Go to social media sites and type the hashtag #bringbackthecramptwins. Or you could sign this petition here: https://www.ipetitions.com/petition/bring-back-the-cramp-twins
With your help and support, then this speculation will be put to rest.

"And we can have forever" 

"And we can love forever,"

"Forever is our today".

"Who waits forever anyway?"

My Thoughts on Tom and Jerry Crossovers

If you were to ask me what my favourite cartoon of all time is, I would immediately say 'Tom and Jerry'. This animated cat and mouse duo really needs no introduction; I can say for the moment that the original shorts were one of the building blocks of my sense in humour, and I can say without hesitation that its Hanna Barbera's strongest work. It was also one of the earliest cartoons that people have been making money out of, however, very few incarnations could hold a candle to the original. With that said, there has been a trend in the past decade in which Warner Bros would put Tom and Jerry with various properties. One of their attempts to rejuvenate the franchise was to combine the cat and mouse rivals with classic stories like Sherlock Holmes, The Wizard of Oz, Robin Hood and Jack and the Beanstalk to name a few. Now I don't think there's anything inherently wrong with mixing a cartoon with classic stories, as a matter of fact, this is something I used to do whenever I drew Tom and Jerry as a child. The problem is that for some, they don't think of their own versions, but they remake existing film versions to animation and just insert Tom and Jerry characters. 

Just to clarify, they were T&J crossovers that do have their own takes (like the ones with Robin Hood and Jack and the Beanstalk). But even then, they're derivative as they already did this with 'Tom and Jerry Kids' (which has a place in my heart). What Warner Bros doesn't understand is that we don't want to see T&J needlessly shoehorned into classic movies or stories; we want to see the characters assume the roles of such literary characters, or just have them work off the same settings. Much like in the original shorts. Is there really a big enough demand for these crossovers to exist? Well, there must be an audience for them, considering they keep making them regardless if these ideas make sense or not. I'm serious, there's one that has T&J meet up with Jonny Quest. Oh what, just because they were both made by the same duo, that automatically makes them similar? Now some of these movies are not poorly made in of themselves, but some were really not necessary. It doesn't help that I'm not even a fan of the Spike Brandt and Tony Cervone designs for these characters, though they're some that I find more entertaining for their novelties. However, the crossover with 'Willy Wonka and the Chocolate Factory' was the straw that broke the camel's back for many people. I think the backlash for that movie was so notorious, that it made Warner Bros realise that we don't need any more of these random crossovers. And as far as I know, there hasn't been any word or sight of a new movie since then.

I don't know if this means no more T&J crossovers if it is then is it too soon to assume that they are just a trend? For me, these direct to video crossovers were at best, recycled renditions of well-known stories and characters, and temporary bumps in the road at worse. What do I mean by this? Well we shouldn't act like these crossovers are ruining the franchise, Tom and Jerry have hit low points in the past, and they've managed to get themselves out of them. Hopefully, movies like the Willy Wonka one will be the last infamous T&J related things we'll have for a long time. After nearly 8 decades, they're still recognised and cherished to this day. I'll still look forward to what's to come for this hilarious cat and mouse in future variations, for better or for worse. And maybe someone will actually combine them with various types of source material, and do it the right way. So what are your thoughts on these T&J crossover movies, I would like to know?

A Review of Captain Flamingo

I've stated before that I consider 2005-2009 to be one of the darkest times in television animation, next to the 1970s it was an age of cartoons that ranged from mediocre to poor. In fact, I don't think I like this era at all. Unlike most people, I believed that the quality of animated series in the 2000s decade dropped around this time. There were good cartoons during the era, but they were few and far between. Part of this comes from the fact that I did grow out of children's cartoons around this time (as well as children's entertainment in general); I think we all go through a rite of passage where we think the cartoons we watched in our childhood are way better than the ones children nowadays watch. No matter which decade you've grown up in, we all have this notion. Now I'm not going to put the blame on those specific 4 years for the quality of these cartoons, it just so happens that they came out during this time frame to justify the late 2000s as being a "dark period". Case and point Captain Flamingo.

I've also mentioned how they're cartoons that parody the superhero genre by taking it in a more
comedic direction. But there is also this sub-genre in which the heroes are children. Throughout the 2000s, there have been plenty of cartoons that have young characters that fight crime using special powers or gadgets. This trend was popular because of 'The Powerpuff Girls'; while not the first show to use this concept, the original series was such a hit that many animation companies wanted a piece of the super-powered pie of righteousness. Created by Suzanne Bolch and John May, Captain Flamingo is one of these young superhero cartoons that took the concept in a much different direction than you would think. The inception for this idea first appeared in an episode of May's first show 'Deke Wilson's Mini Mysteries', in which a character wanted to be a bird-themed superhero of the same name. I remember watching this show when I had nothing better to do. It was on towards what I consider to be the end of my childhood, and it made up my decision to give up on the super kid genre. Not many people seem to remember this show; until recently there was not much about it online. But unlike 'Stickin' Around', this was an obscure cartoon I don't have the fondest memories of. It's quite a pity considering Suzanne and John did work on 'Stickin' Around', but I digress. But was Captain Flamingo the unsung hero animation needed at the time, or was it the 'Teen Titans Go!' of its day. Let's all put our birdbrains together and find out how.

The show is about a young boy called Milo Powell, who one day is tired of how much more privileged older people are than children, decides to become a superhero much like his favourite hero Quantum Vigilante. Albeit a bird-themed one, so he takes on the alter ego Captain Flamingo. But what makes Captain Flamingo different from other kid heroes is that he doesn't fight crime or save the town from monsters, instead, he fights in the name of child justice. So with his trusty bag of novelty items and the help of his sidekick Lizbeth, they go on missions to help those children in need. Each episode would start with Milo facing a certain predicament or having to achieve a personal goal. But then he gets called upon to carry out a mission. You know how there are superheroes that have their call of action; Batman has the bat signal, Spiderman has his spidey senses, whenever a kid would be in trouble they would shout "Uh-Oh Flamingo!" He and Lizbeth try to fix the kid's problem the best they can, but the captain ends up making things worse. The Captain then counts on his "Bird Brain" to think of a solution, when really its Lizbeth giving a suggestion. He still assumes that it's his own instinct; but he often misinterprets Lizbeth's advice, it doesn't matter as the captain inadvertently fixes the issue. Milo's actions in aiding the person lead to an outcome for his personal goals. In other words 'Captain Flamingo' has a main protagonist who defends the rights for kids everywhere, it tries to depict the problems children go through as high stake adventures, and teens as the antagonists. Well, I think there's a cartoon that does that concept a lot better. As you can tell; the show is very formulaic, but it barely does anything to mix up the formula or make each episode interesting enough to come back to. In each episode; the captain would come across a kid from his neighbourhood with a problem (big or small). In this case, it's not so much children's predicaments that are exaggerated as large, grandiose adventures, it's that each kid's problem gets out of control and comedically out of proportion. It kind of reminds me of the cartoon 'Hong Kong Phooey', in that it's always the sidekick who comes up with a way to save the day, yet the main hero always takes the credit. Normally in these types of shows, they try to reduce something serious to be silly or add impact to even the most average and mundane of activities. The aim of this show is to solve a series of unfortunate mishaps; however, it makes the dilemmas too simplistic to where it can only thrill an audience that's the same age as Milo. It also tries to leave you in suspense, but once you become accustomed to the formula, the novelty can wear thin for some people. It's not that the stories/scenarios aren't or can't be interesting, it's just they're not as interesting as they could be.

The show also tries to mix action with comedy, again there's another cartoon that does that much better. You might notice that the show tries to throw in any joke it can at any given moment. I know 'Mucha Lucha' has a similar style and tone of humour, but the jokes in that show I can actually remember and they managed to make me laugh. Whether they're verbal or visual, the jokes aren't that funny and even as a teenager I heard them all before. I assume younger viewers may find the gags amusing; there might be a joke that might lead them to ask their parents to fully get it, but they are mostly low-hanging fruit on the writer's part. The jokes can also be very lowbrow, but not done in a way that's clever or worth a smirk. When it comes to the action, it's mostly slapstick based. Much of it comes from the captain trying to fix the problem, resulting in a lot of havoc to break out. These gags involve the Captain and the other characters having to go through these shenanigans, as well as the effect it has on the people around him. Even so, the physical humour doesn't have enough of an impact; it would have worked if the set-up was made more gripping to give the more humorous gag a stronger result. I've stated this before in my review of 'Teen Titans Go!' but an action-comedy still needs to capture the weight and feel of its genre, that way the punch lines have more of a punch. There are also moments in which the captain fantasizes the predicament or the antagonist as much more threatening. But the fantasy also finds its way into the real world, they're bizarre occurrences that appear as either a random gag or a plot point. If the show wanted to be internally consistent, the fantasies should either be a figment of the main character's imagination or be a part of its world; you can't have it both ways. I know in cartoons like this they like to blur the line between what is real and what is not, but this show jumps from one side to another. I can accept a show taking a plot in an 'out there' direction, so long as it runs with the potential. These surreal occurrences feel like a deus ex machina or they can be pulled out from nowhere. Once again there's another cartoon that does a better job of showing things through the imagination of a child. How is it that someone that isn't interested in superheroes, understands how to parody the genre?

The animation for this series was done at Atomic Cartoons, a Canadian company who were one of the earliest pioneers in Adobe Animate (or Flash as it was once called) during the 2000s. And like a lot of Canadian cartoons, the visuals here haven't aged very well. The whole look of the show contains very generic designs that have been seen in plenty of other cartoons. Nothing about the show looks or feels unique or inspired, neither the designs on the characters or the backgrounds leave much to the imagination. I guess it's trying to go for a retro style, but the muted colour scheme makes it plain looking. I could see where it's going with the pulp styled title cards though. It doesn't help the character's movements are pretty minimal and automated; it follows the typical criteria of any Flash cartoon from that era, which makes it look even cheaper. Contrary to what you may think, I'm not opposed to Flash animation. I'm well aware people have done impressive things with the animation software, and that it has heavily evolved since then. The show seems to have the humour as the main driving force rather than the visuals, but as a superhero show, the action should be an important tool. Even if the show is primarily a comedy, the action scenes need to feel dynamic enough (at least in this day and age). When it tries to display all the slapstick or mishaps, it doesn't do anything to make it stand out from its contemporaries. I mean the movements are passable the animators did a decent job, not that it's anything remarkable. Atomic Cartoons had the potential to make interesting looking shows, but they have been affiliated with mediocre flash animation, and even now they've yet to push their own boundaries. On that note, this was also a co-production in the Philippines, so it predates 'The NutShack' by a year.

Characters and heroes in comic books are universally recognised, to the point where many see them as the modern-day myths. So how do the characters in this show fare? Let's start with our hero, Milo. He tries his best to prove himself as a hero, while also having to go through his own hardships. He also has to balance his responsibilities at home and duty to help kids in need. There's a quixotism to how he sees life as a comic book adventure, with a utility bag of his father's novelty items, he takes these predicaments on with a wing and a prayer (so to speak). Even with these items at his disposal, he doesn't get it right the first time. I suppose he's meant to be a protagonist the younger viewers can relate and look up to. But he can get so clueless to what's going on, and that habit of him misinterpreting things with his own "strategies" can get old pretty quick. But you can't argue with results. I consider Tabitha St. Germain an underrated voice actress, but the spunky little boy voice she gives him becomes a little too much. He sounds like a prepubescent Ryan Reynolds. I can't help but to imagine what Milo will be like when he's older; will he grow out of the superhero persona, or will he continue to live in his own delusions. I mean we all used to imagine ourselves as heroes, so you cannot fault him for that. I know I used to have fantasies at that age, but I grew out of it just ask my imaginary sister Helena. Lizbeth is the captain's sidekick and neighbour from across the street; she also has a crush on him even if he's unaware of her flirting. She's actually the more levelheaded one, so she's one of the more tolerable characters to me. Even though she has to put up with the captain ignoring her. Like Spot from 'Hong Kong Phooey' Lizbeth is the one who comes up with the ideas, yet she rarely (if ever) gets the appreciation she deserves for helping to solve the conflict.

Many of the child citizens the captain has to help have certain traits that the writers like to exploit. There's Max who's the youngest with a speech impediment, Owen Only who has a really overprotective mother, Avi who is cursed to cause an accidental chain of mounting disasters, Rutger the boy who puts himself in bad situations he can't get himself out of. Tabitha is an overachieving honour student who gets really stressed whenever things don't turn out for her, Otto is the strange foreign child who has an interest in the science of machinery and rocks (as well as picking his nose). The rest are more or less similar to one another, like having vague nationalities. Considering this is a superhero comedy, you'd think it would have a vast rogue gallery. But there aren't a lot of recurring villains. There's Warrior Monkey, the captain's arch-nemesis who is a regular monkey who Milo imagines as an anthropomorphic one in samurai armour. I've kept making comparisons to other cartoons; but some of you might think he's a copy of 'Mojo Jojo', now just because the characters are the same species that doesn't mean they're alike. But when the show is about a young superhero and the main villain is a primate, it's hard not to see the parallels. He just comes off as a wild animal that harms kids and causes mischief. Wendall, Milo's cousin brags about being an eighth of an inch taller than him. Whenever he makes an appearance, he and Milo are shown competing with each other. There's also Megan, who's a bossy teenage babysitter; she doesn't come off as that intimidating, as she ends up joining the kid's side in the end. Milo's parents have significant roles; with the mother who's caught up with errands and Milo's toddler brother Thor, she can also be quite firm with Milo. The father owns the joke shop where Milo gets his items from, he has a monotone voice and average mannerisms in contrast to his son's innocent roleplaying. Though Milo might have inherited his heroism from one of his parents. This show also has a narrator, and he does that thing in which he addresses the characters. I had a super dramatic announcer once I wonder where he went? The missions revolve around these recurring characters, and all of them are not badly written, but they're only memorable by their traits and the predicaments they get into. I mean would you want to spend the day helping them?

Bottom line, Captain Flamingo isn't much of a super show. The stories use the same formula without doing anything unique to the kid hero concept, the animation leaves a lot to be desired, the humour is by the numbers and the characters are one-note. Whatever it tries to do has been done better in other shows, it's like it tries to take aspects from such similar shows and put them together in order to make the "ultimate kid show". But it wasn't put in the right hands. Much of it is not as compelling or as funny as it could be, the main joke is that it makes mishaps out of simple dilemmas. Do I think this show is as bad as 'Teen Titans Go!' No not by a long shot. I wouldn't even say this killed the 'kid hero' trend; I believe that 'Fanboy and ChumChum' has that distinction. My recommendation for it is to see how it compares to other 'kid hero' cartoons, even though this trend may have been overhyped. Don't expect it to play the action genre straight, or parody the conventions, that is if you're big. If you're little; you might like this for the slapstick humour and characters. If you were a fan of this as a child, then more power to you. But if you were one of those teens who looked down on children for liking it, it's not like you were any better at that age. I'm sure this little flamingo tried to join among the likes of other comedic superheroes, but the only merit I can give him is a 3/5.

For the record, I'm not blaming this show for the state of cartoons during this era, not at all. Maybe it's not that I was too old to be watching these shows, maybe it's because my tastes and understanding of topics were developing, so this show didn't appeal to me. And if you were a child during this era, you may have grown out of shows like this, or you may have not. I should keep in mind that not every show from my childhood is as good as I remember it to be, I mean when was the last time you've even watched The Powerpuff Girls? But this is one hero that I'm too big to call for his help. Now if you'll excuse me I'm going to......

*heavy breathing* I'm terribly sorry I'm late, *heavy breathing* I was stuck in traffic.
Well, the review is over now announcer guy, besides I haven't needed you for the past 6 years.
Then I guess you don't need my assistance anymore, good day.
Wait, Wait, don't take it the wrong way. It's just; when was the last time I did a review in this fashion?
You never even do one, all you ever touched upon was the more funny superhero shows, not the serious ones. I wasn't even used when you reviewed 'Teen Titans Go!
Those are really out of my comfort zone.
Don't you think it's your responsibility to review anything, regardless if you like it or not?
It's not like this blog is my lively hood.
Look mister; whether you review more superhero shows, or I'm out of here.
Fine go. Who needs you anyway? I don't, and I don't need this cartoon either! Goodbye.
*slams door* I knew I should have worked with that Mr Enter guy.

Man, I might have been too harsh on him.